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The Falling collapses its ambitious intrigue through overextended fainting spells. Puberty is a strong advocate for personable change. Experiencing the evolutionary adolescence that transforms sprouted children into blossoming young adults. Yet, the journey is rarely uncomplicated, demanding physical and mental energy that springs hormonal tendencies into action. None more demanding than the friendship between youthful girls, minor fraternities conjuring rites of passage to solidify bonds. Morley’s distinctively bold mystery encompasses the pubescence of an all-girl school, experiencing synchronised mass hysteria after the tragic death of a fellow pupil. A psychological contagion enabling the exploration of sexuality, moulded by misty melodrama against an autumnal period backdrop. Disturbingly beguiling in nature, through metaphorical body possessions that highlight supernatural elements within the obtrusive sexual motives. Morley, for the most part, captivates when allowing her acting talent to shine through. An innocently naive Williams bravely controlling every scene in her leading role as a psychologically deterred student whom seemingly is a catalyst for the hysteria breakouts. Hospitalised, psychoanalysed and actively withdrawn from therapy, the spells of hysteria are never elaborated. An unexplainable mass psychogenic illness. Morley’s intent in ambiguity enables her ostentatious narrative to visualise sexualisation. Hormonal chemicals invading the bloodstream and controlling the mind. A possession, if you will. Conversely, her screenplay resorts to ethereal poetry and psychedelic narration, emphasising the connectivity between these girls. Unfortunately, several conversational scenes spoon-feed proposed metaphors for the assurance of acknowledgement, most notably the one-sided therapy session that Lydia and her friends endure. Diminishing the bold interpretations that preceded the conclusive act almost indefinitely. Then the final ten minutes commence and Morley outwardly encounters her own spell of hysteria. The tone alters. The mood unequivocally changes. The pace quickens. She dabbles into darker subjects, a territory that heavily contrasts with the predominantly mystifying narrative. The virginal Lydia interrogating her neglectful agoraphobic mother regarding her father, whilst developing an incestuous relationship with her brother. Discovering her true roots, subsequently offering a hereditary reasoning for her mental instability. It’s at this point where Morley loses that tight narrative control. Explicitly presenting a shallow explanation that manages to resolve familial turmoil in a matter of minutes, allowing the supernatural aura to dissipate. Not to mention how under-utilised and misdirected Peake was. Fortunately Pugh’s illuminatingly perfect performance makes up for lost talent. The editing imaginatively strings various images together during rapid flashback scenes, which proved effective for the most part. Thorn’s soundtrack however was too audacious and overpowering, likening The Falling to a casual summer school trip rather than an existential piece of art. Morley is a credible director, and The Falling is one feature that uniquely tackles a variety of subjects in a mesmerisingly imaginative manner. Its fundamental issues however are situated in its inappropriate climax and misplaced technicalities that allow the narrative to repetitively faint far too often.
The arrival of a handsome new farmhand threatens the balance between a farmer and his daughter.
Agnes, a teacher from the Hessian provinces, has come to Berlin to identify a dead girl who might be Lydia, her runaway daughter. It turns out not to be Lydia, but Agnes stays in the city anyway. Still frantically looking, she comes a young stray called Ines who no longer leaves her side...
Agent 007 battles mysterious Dr. No, a scientific genius bent on destroying the U.S. space program. As the countdown to disaster begins, Bond must go to Jamaica, where he encounters beautiful Honey Ryder, to confront a megalomaniacal villain in his massive island headquarters.
Agent 007 is back in the second installment of the James Bond series, this time battling a secret crime organization known as SPECTRE. Russians Rosa Klebb and Kronsteen are out to snatch a decoding device known as the Lektor, using the ravishing Tatiana to lure Bond into helping them. Bond willingly travels to meet Tatiana in Istanbul, where he must rely on his wits to escape with his life in a series of deadly encounters with the enemy.
Special agent 007 comes face to face with one of the most notorious villains of all time, and now he must outwit and outgun the powerful tycoon to prevent him from cashing in on a devious scheme to raid Fort Knox - and obliterate the world's economy.
A mysterious spacecraft captures Russian and American space capsules and brings the two superpowers to the brink of war. James Bond investigates the case in Japan and comes face to face with his archenemy Blofeld.
James Bond tracks his archnemesis, Ernst Blofeld, to a mountaintop retreat in the Swiss alps where he is training an army of beautiful, lethal women. Along the way, Bond falls for Italian contessa Tracy Draco, and marries her in order to get closer to Blofeld.
Cool government operative James Bond searches for a stolen invention that can turn the sun's heat into a destructive weapon. He soon crosses paths with the menacing Francisco Scaramanga, a hitman so skilled he has a seven-figure working fee. Bond then joins forces with the swimsuit-clad Mary Goodnight, and together they track Scaramanga to a Thai tropical isle hideout where the killer-for-hire lures the slick spy into a deadly maze for a final duel.
Russian and British submarines with nuclear missiles on board both vanish from sight without a trace. England and Russia both blame each other as James Bond tries to solve the riddle of the disappearing ships. But the KGB also has an agent on the case.
A British spy ship has sunk and on board was a hi-tech encryption device. James Bond is sent to find the device that holds British launching instructions before the enemy Soviets get to it first.
A newly-developed microchip designed by Zorin Industries for the British Government that can survive the electromagnetic radiation caused by a nuclear explosion has landed in the hands of the KGB. James Bond must find out how and why. His suspicions soon lead him to big industry leader Max Zorin who forms a plan to destroy his only competition in Silicon Valley by triggering a massive earthquake in the San Francisco Bay.